Sometimes you want to sink your teeth into a gourmet meal, and sometimes you want junk food. Stylish, entertaining junk food. And that's what this is. So dig in.

while the action cranks up in the final half-hour, it's shot in such an incoherent manner that it renders the entire endeavor rather impotent. And by the time the film's confusing finale arrives, we're left with only one real question: "That's it?"

For casual fans, "World Heroes' Mission" is solid enough in its watchability, crowdpleasing action, sight gags, and core relationship. But for all the wealth of material, there's little substance here.

With Eternals, Marvel turns a risky gamble into another piece of the puzzle. Its cosmic ambitions, its prevailing humanism amid a nihilistic outlook, and its gestures at maturity — the (real!) sex scene, the depth and warmth that they give to Henry's LGBTQ relationship — are not enough to make Eternals more than just another film to fit neatly in the Marvel Studios mold. But even so, Zhao brings an elegance to the film and the cast bring a vulnerability and care to their characters that leave a lingering impression, even as the last super-punch fades.

The French Dispatch is a rocket ship ride to your cinematic soul, meshing word, action and vision in one glorious bon-bon that’s both sweet and savory.

Young does her best to carry this all on her shoulders, and while she nails her early scenes playing up Margaret's instability, she eventually gets lost among all the scenery and abundant production design. Never quite as surreal as it needs to be, The Blazing World is an exercise in dream logic that stumbles over itself again and again.

It's a heartbreaking, but clear-eyed look at the last gasp of a dying industry, and a man whose whole identity, whole livelihood gets shattered by a force beyond his comprehension.

As a sensory experience, Knocking is stunning. The heightened sounds mixed with a stuffy, collapsing ambiance create an unforgettable experience. Pity that the narrative in the midst of all of this fails to match that power. 

The return of Madeleine Swann (Léa Seydoux) makes a strong case that extended continuity is an albatross around this franchise's neck. And Malek's Safin feels like a rough draft, only ever half there, never landing the way a classic Bond villain must. These are tough hurdles when the film is meant to be a grand swan song.

It’s a film that’s at its best when things matter and you’re empathizing even during moments of total butchery. It’s never easy to inject humanity into inhumane acts, yet Titane, like the metal, manages to do something remarkably strong in a compact form.

The Addams Family 2 makes exceedingly few right moves, feeling tossed-off right to the very end.

There are countless superhero movies better than this. Better written, better directed, better acted, better made. And yet, Let There Be Carnage has a weird, quirky heart, and sometimes, that's exactly what you need to see.

For my money, The Black Phone is more complete and effective than Derrickson's previous horror movie "Sinister" and is the first feature adaptation of Joe Hill's work that demands more big-screen Joe Hill adaptations.

Coen shows an understanding of Shakespeare's original play as well as a willingness to go beyond it. His "Tragedy of Macbeth" leans into the staginess of the story, while tapping into the surreal nightmare of the whole thing. It's nothing short of magnificent.

Dear Evan Hansen, for all the plaudits it received on stage, is a hollow attempt at broad-based sincerity that felt hollow even before it became a big-screen adaptation.

The Many Saints of Newark is smart enough to point out that Livia isn't an anomaly in this world — she's just another borderline-sociopath who has found her place among murderous men.

The cast is dynamite across the board. The way they converse with each other feels wholly natural, as if they've been talking for years.

Though you can see its twists coming from a mile away, Caine and Plaza's oddball dynamic and Roessler's visually stimulating direction makes "Best Sellers" a movie that's diverting enough to cozy up with.

It's now hard to imagine that "Unforgiven" felt very much like Eastwood closing the book on his Western era. Cry Macho is more of a slow-paced postscript to that book, but a surprisingly well-worn and welcome postscript nonetheless.

Spencer will break your heart, but it will bring it warmth, too.

As social commentary, it's weak. As a comedy, it's unfunny. As a horror movie, it's not very scary.

Chon aims for the pulse at the end, but he may not have realized that he didn't have to try so hard — he had already effortlessly plucked at the heartstrings.

The genius of Sundown is how little it tells us while keeping us glued to what we're seeing.

The Rescue is an edge-of-your-seat experience. Vasarhelyi and Chin shoot this thing like a thriller, combining both actual footage shot during the rescue with recreations featuring the actual divers, blending all this footage together seamlessly to create a wholly cinematic experience.

I'm sure Lakewood had its heart in the right place, and Watts, gosh love her, is really trying, since she's pretty much the only person on screen for most of the movie. But every step Amy takes towards the school is another misstep the movie makes, and by the time she gets to her destination, we've already mentally checked out.

The Forgiven runs the risk of becoming a thoughtless movie about a vile white man who is taught a lesson by wise brown people, but McDonagh, who also wrote the script, manages to (mostly) avoid that with a subtle touch.

In the end, Copshop is aggressively okay, and that'll probably be more than enough for most viewers. 

The Electrical Life of Louis Wain is often quite charming and sweet. But there's an undercurrent of sadness running through the entire affair, and even when the film tries to convince us that there were good times among the bad, it's hard not to think how awful life must have been for several characters here.